Recently in Performances
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
21 Jan 2016
Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
Stepping in for Karel Mark Chichon, who cancelled due to illness, young
Italian conductor Pietro Rizzo led the Netherlands Radio Philharmonic in a
exciting, if imperfect, performance. It was evident that he had had very little
time with the orchestra. The first bars sounded rather scrabbly. There were
unsteady woodwind attacks, especially in the wedding scene, and the horn
section repeatedly lagged behind in Act III. Mr Rizzo’s signalling to the
Netherlands Radio Choir, who ushered in Butterfly with some heavenly sounds,
also suffered from their belated acquaintance. The Humming Chorus, sung
backstage, was adequate musically but lacked dynamic subtlety. Flaws aside,
however, the performance had a pulsating energy and was enriched with carefully
crafted details. Mr Rizzo can suspend a phrase in mid-air and then let it glide
down as gracefully as the folds of a kimono. He also whipped up some thrilling
Puccinian crests, although climaxes were hard-edged and needed more roundness
in the brass. Altogether, Mr Rizzo’s was an exciting Concertgebouw debut.
It was also his first time conducting in the Netherlands, and hopefully he will
return soon. There were excellent contributions from some of the principals, in
particular concertmaster Joris van Rijn’s tender solos, Ellen
Versney’s softly glittering harp and Paul Jussen’s portentous
All the soloists sang the music by heart, which is always a boon, and
entered and exited in character. Most of the supporting cast ranged from
acceptable to competent. As Goro tenor Ho-yoon Chung sang very well indeed, but
nothing in his characterisation suggested the marriage-broker’s base,
money-grubbing nature. He sounded more like a friendly next-door neighbour. A
cut above the rest were bass Miklós Sebestyén as the Bonze and the
three Dutch singers playing Kate Pinkerton and Butterfly’s relatives. Mr
Sebestyén was vocally commanding in his short scene, storming in to
renounce Cio-Cio-San for converting to Christianity. Maria Fiselier, Ruth
Willemse and Julia Westendorp were all outstanding.
Tenor Arnold Rutkowski has an attractive lyric voice with an interesting,
bittersweet chocolatey timbre. His Pinkerton was young and foolish and
completely unaware of the havoc he was wreaking. He was on solid ground as long
as he sang mezzo forte or louder. Softer singing resulted in quality loss. Mr
Rutkowski is very musical, but more dynamic control would increase his
expressive possibilities. He had all the high notes, which he jettisoned with
great physical energy, but the dicey trajectory they sometimes took made one
wish for more technical grip. Baritone Angelo Veccia was a suave and humane
Sharpless. His refined phrasing amply made up for some throatiness, mostly
evident in the upper third of the voice. Mr Veccia’s restrained Sharpless
found a dramatic foil in Marie-Nicole Lemieux, who brought her potent dramatic
presence to Suzuki. The extremes of her acerbic top and plunging contralto made
Butterfly’s maid and companion both fierce-tempered and fiercely
maternal. The orchestra was often a little too loud—a common issue at the
Concertgebouw, where sound carries further than some conductors
realise—but Ms Lemieux could easily counter the volume.
So could Lianna Haroutounian, who gave a world-class performance as the
abandoned teenage bride. Her Butterfly was trusting but dignified, and devoid
of simpering silliness. With its rich, silk-wrapped vibrato, even focus from
top to bottom, and that ductile quality Italians call morbidezza
(softness), Ms Haroutounian’s voice is ideal for the young heroine. And
she is a true spinto soprano, with enough power and stamina to tackle the
onerous third act. Her full top notes are confident and lustrous. She did not
take the high D flat at the end of the entrance aria, but the
composer-sanctioned lower alternative, and quite beautifully too. “Un bel
dì vedremo” (One fine day) was vocal perfection. She effectively
built up the tension during Butterfly’s imagined reunion with Pinkerton
and ended the aria in a stunning high B flat. Visibly emotional in the suicide
scene, she veered a little sharp in “Tu, tu, piccolo iddio” (You,
you, my little god). Halfway through, she refocused her voice and sailed
through to a secure finale. Unsurprisingly, the hall gave her a clamorous
ovation. San Francisco Opera has already announced that Ms Haroutounian will be
their Butterfly next season. No doubt she will be invited to sing this role at
several other houses. As many Puccini fans as possible need to hear her in it.
In fact, opera fans of all types need to hear Ms Haroutounian, in any of her
roles—hers is one of the major voices of our time.
Cast and production information:
Cio-Cio-San — Lianna Haroutounian, Suzuki — Marie-Nicole
Lemieux, Arnold Rutkowski — Pinkerton, Sharpless — Angelo Veccia,
Goro — Ho-yoon Chung, Prince Yamadori— Yujoong Kim, The
Bonze— Miklós Sebestyén, Yakusidé — Hee-Saup Yoon,
The Imperial Commissioner — Enseok Choi, The Official Registrar —
Kyung-Il Ko, Cio-Cio-San’s Mother — Ruth Willemse, Kate
Pinkerton/Aunt — Maria Fiselier, Niece — Julia Westendorp,
Conductor — Pietro Rizzo, Netherlands Radio Choir, Netherlands Radio
Philharmonic. Heard at the Concertgebouw, Amsterdam on Saturday,
16th January, 2016.